Author: Maxine Park (Page 2 of 3)

I was unable to attend the museum due to an illness, but I did some research myself, as well as went back to the textbook, and here are some of my thoughts.

I found it incredibly interesting how ideas such as tenebrism, chiaroscuro, and the usage of deeper tones were not exclusive to the artistic mediums we often associate them with (painting). It is incredible that 17th century printmakers created new techniques to replicate the contemporary artistic trends seen in paintings, such as the usage of Japanese and Chinese papers and drypoint picking (which both allowed for darker blacks), as well as the experimentation of different textures of paper, which allowed artists to have a wider variety of tones.

Techniques like selective wiping and mezzotint helped printmakers to attain a primarily dark print, further embracing the darker tonalities seen in art at this time.

I found it particularly interesting looking at Hendrick Goltzius’ Farnese Hercules, and comparing it to some of Rembrandt’s prints. Because Goltzius’ scholarly trip to Italy took place just before the rise of Caravaggio and the Baroque, there is a greater emphasis on the grandeur of the art of antiquity, versus the contemporary chiaroscuro and the experimentation of light and dark that I see in a lot of Rembrandt’s works.

Today’s class focused on Baroque Art in Italy and Spain.

We covered several Bernini works: David, The Ecstasy of St. Teresa, Baldacchino, and the Piazza before St. Peters. I particularly loved the connection that prof made between the usage of coextensive space and the rise of Catholic Mysticism and the practices encouraged by Ignatius of Loyola. In the Jesuit order, practices of imagination (stepping into and interacting with biblical scenes) were essential to the Counter-Reformation. This, therefore, made images (inner and outer) absolutely essential to Bernini’s art.

We then looked at Gauli’s Triumph in the Name of Jesus, as well as the accompanying sculptures by Antonio Raggi. Raggi also did the sculptures in Borromini’s San Carlo alle Quattro Fontane, whose sculptures (similarly to Bernini’s St. Teresa) appear to be performers on the stage within their niches.

We then looked at Cotan’s Quince, Cabbage, Melon, and Cu cumber. Cotan uses a very Caravaggio-esque form of directional light, which may either be a coincidence or an act of inspiration, as Spain and Italy had a connection through Spain’s occupation of Naples.

Next was Ribera’s The Club Footed Boy, who depicted a beggar with the importance of a king with his elevated posture, confident pose, and the carrying of a walking-stick that highly represents how a musketeer would brandish his weapon. Prof. Plesch mentioned how The Christian Democratus may have influenced how Ribera chose to depict the boy, as his cheerful expression makes the piece seem to be a celebration of his status as a beggar.

We then looked at Zuraban’s St. Serapion, where the black background seems to project the subject into our space. It also contains a cartillino label with a startling 3-D effect.

Finally, we looked at Velazquez’s Las Meninas. I particularly enjoyed the paradoxical composition/perspective in this painting, as well as how Velazquez has painted himself– he has the cross of Santiago painted on his garb, as well as the keys to the royal bedchamber at his side– all symbols of status. Prof. Plesch described this work as a “painting about painting”, which I thought very fitting.

Although I was unable to attend class on the sixth, here are some of my reflections from the readings.

I absolutely adore Pieter Bruegel the Elder’s Hunters in the Snow, I feel the last time we’ve seen a genre scene depicting laymen like this was in Duke of Berry’s Calendar, where we saw a similar winter scene on the January page. The art style is so distincct — the outlines are so clear, sort of reminds me of The Birth of Venus (the two don’t look very similar, but the linear forms of the outlines are somewhat the same).

Caravaggio’s Calling of Matthew is such an interesting work. I love the tenebrism and chiaroscuro, as well as how Christ is not depicted in the painting, but only referenced. He brings with him this supernatural light.

I’m excited to start studying Italian Baroque art, particularly the architecture, as I know the Catholic Counter-Reformation resulted in some innovative places of worship!

We opened class today by concluding our discussion about Mannerism by analyzing two works by Agnolo Bronzino: Allegory with Venus and Cupid and Portrait of Eleonora da Toleda and Her Son Giovanni de Medici.

The Portrait of Eleonora particularly stood out to me. Her stoic expression and upwards location on the canvas felt as though she was looking down at the viewer. This oil painting was definitely one of the more impersonal portraits that I have seen in this class, functioning solely as a display of wealth and status, as well as the presentation of a male heir.

We then transitioned to talking about the High Renaissance in Northern Europe through the analyses of various works by Albrecht Durer: The Four Horsemen of the Apocalypse, Self-Portrait, Watercolors, Four Books on Human Proportions, and Adam and Eve.

I found interesting the amount of progress seen in just a couple of decades with woodcuts. We compared The Four Horsemen to Buxheim St. Christopher and the difference was immense. Whereas St. Christopher’s purpose was clearly solely as a devotional image, Durer’s woodcut felt more like a work of art and expression.

Durer’s Self Portrait, in my opinion, is quite narcissistic, although Prof. Plesch did make a fascinating point about comparing an artist to a creator and the ideal of christlike features in Christianity.

We compared Durer’s Great Piece of Turf watercolor to Leonardo da Vinci’s Star of Bethlehem, and recognized that da Vinci was more of a detail oriented artist, studying the way that systems work as a whole, whereas Durer was moreso big-picture. However, we continued to compare Durer’s study of Vitruvian anatomy with da Vinci’s — in my opinion, the artists are not so different, especially compared to other Northern European artists of the time, which seem to retain a more traditional Germanic style.

I particularly appreciated the representation of the humors via the animals in Adam and Eve… the engraving is full to the brim of scenes of tension and drama. Durer perfectly encapsulated a moment in which the temperments are completely balanced, and yet about to break as the original sin is committed.

We continued by analyzing Matthias Grunewald’s Isenheim Altarpiece, which is a good example of a northern European High Renaissance artist maintaining a more traditional, medieval style. The crucifixion panel was absolutely brutal and expressionistic — I felt uncomfortable…in a good way.

We concluded class by looking at Hans Holbein the Younger’s Jean de Dinteville and Georges de Selve (The Ambassadors), which might be my favorite piece we’ve covered this year. The anamorphosis blows my mind each time, and the message of looming death despite human achievement (religious and secular) is absolutely haunting.

I wasn’t here for this class, but as always, I have my thoughts on the artists covered in the powerpoint! I want to focus on Botticelli and da Vinci.

Two Botticelli pieces were covered in the reading: Primavera and The Birth of Venus. I found it very interesting how the Primavera seems to reference the writings of a Neo-Platonist philosopher, whose writings were popular amongst the Medici court at the time. I personally think that Venus here is the epitome of the female beauty standard of the time: modestly clothed, and gently gesturing.

The Birth of Venus remains one of my favorite works of art of all time. I love how the shadow modeling and outlining make a sort of low-relief effect instead of a three-dimensional one (what we are more used to seeing in this class!)

There were SEVERAL da Vinci works covered in the reading, so I’ll try and make this brief. I found both portraits featured (Portrait of Ginerva de Benci, and the Mona Lisa) to be particularly striking due to their break from the norms of portraiture of the time (instead of an interior setting, a landscape; 3/4ths profile; simple garb as opposed to jewelry).

Both The Virgin of the Rocks and The Mona Lisa were incredible examples of sfumato.

Three pen drawings by da Vinci were featured in the reading; my main takeaway from these was da Vinci’s status as an intellectual (his study of Greek physician Galen and Roman architect Vitruvius), which we can see by his intense focus on anatomy and ancient forms.

I love how The Last Supper highlights the subject (Jesus) in subtle but extremely impactful ways (the central vanishing point being behind Jesus, the opening in the wall behind him symbolizing a halo, and the natural light that frames him). I also love how the spatial setting of the painting annexes the room that it is located in. Additionally, the characterization of each member of the supper allows for tension.

I was not here for this class, but I took a look at the powerpoint and the readings, and here are some of my thoughts.

The majority of my attention from Chapter 15.1 was drawn to the works of Masaccio, particularly his frescoes on the Brancacci Chapel walls. I found it extremely fascinating how The Tribute Money’s perspective links the painting’s space to the viewer’s via modeling light based on the real light sources in the chapel. Compared to previous works we have studied, I found the poses of the subjects in The Tribute Money to be more static, however, this didn’t take away from the tension of the piece, as the expressions are intense, and the sparing usage of strong gestures communicates drama.

The next fresco covered in the textbook was The Expulsion from Paradise. I personally loved how this piece highlighted the beauty of the nude human form through its depictions of Adam and Eve.

Although I was not here for 2/14’s class, I took a look at the powerpoint and textbook readings and here are some of my thoughts.

The readings for Chapter 14 covered primarily Jan van Eyck and Rogier van der Weyden, so I’ll start with those first.

We first covered the Ghent Altarpiece, by both Hubert and Jan van Eyck. I found interesting the inclusion of portraits of the donors depicted next to the patrons of the cathedral. This was also my first encounter with grisaille. I particularly enjoyed the portraits of Adam and Eve, not just for their immense life-sized scale, but also for its careful attention to anatomy, as well as light and shade.

Next was Jan van Eyck’s Man in a Red Turban. Having taken AP Art History in the past, I was immediately able to recognize the 3/4’s positioning of this portrait. I personally (controversially?) do believe that this is a self-portrait because of the subject’s solid gaze with the viewer, combined with the slight strain of his eyes.

The Arnolfini Portrait is iconic. As many times as I have seen this painting, I never noticed the reflection of the two men in the mirror in the background.

Then there’s Rogier can der Weyden. The reading primarily covered two works by him: Descent from the Cross and St, Luke Drawing the Virgin. I really loved how the Descent from the Cross placed such emphasis on the body of Christ, almost in celebration of the Eucharist. I also adored the sculptural forms, and the shallow crowd of mourners, which distinguished this scene from the landscape.

I absolutely adored the landscape in St. Luke Drawing the Virgin. The way it spans so deeply into the distance is just remarkable!

Hans Memling’s Madonna and Child from the Diptych of Martin van Nieuwenhove also particularly stood out to me. I loved how the subject holds a faithful gaze to the Madonna and Child, and how their reflections suggest that they are in the same space (His house, of all places! An earthly setting!)

Finally, I wanted to cover the Mysterious Draught of Fishes by Conrad Witz. The reading explains that due to the contemporary Council of Basel, the question of whether of not the pope alone has the right to determine doctrine was a hot question. For me, this piece seems to express Witz’s opinion on the subject: Peter is depicted flailing in the water and needing aid, a possible reference to the pope needing aid from the bishops?

Class consisted of content from the Early Renaissance in 15th century Italy.

We opened class with a quick recap of studia humanitates, as well as the printing techniques utilized at the time.

I found it particularly interesting that Florence, by establishing itself as a Republic, was inadvertently affirming themselves as heirs to the Roman Republic. I also found it interesting that bankers and merchants (the “Bourgeois”, I had no idea that this was where the term originated from!) began to hold the majority of the political power. I also found interesting the existence of guilds, and how much power they truly held in Florentine government, as well as the arts!

We compared The Sacrifice of Isaac of both Brunelleschi and Ghiberti. I personally agree with the decision of Ghiberti’s victory for its smart composition and tense narrative.

We then covered Brunelleschi’s Dome of Santa Maria del Fiore, which is simply an architectural feat. I loved how Brunelleschi incorporated geometric ratios into the exterior of the dome– you can truly see his mind in action!

Continuing with our study of Brunelleschi, we covered the Ospedale degli Innocenti, which also stressed geometric ratios and harmony of shapes through its usage of pietra serena, which contrasted against the building’s white walls.

We concluded class via Donatello’s Feast of Herod, which helped introduce the concept of linear perspective through its usage of lines on the floor.

We opened class by comparing two Madonna Enthroned’s: Cimabue’s and Giotto’s. The main difference for me was that Cimabue’s depiction was conceptual, not naturalistic in terms of its setting, while Giotto had more spatial accuracy with the overlapping of figures.

We then covered the Scrovegni/Arena Chapel, particularly the frescoes of The Lamentation and Christ’s Entry into Jerusalem by Giotto Bondone. Although I remember another student commenting in class that the plain blue background of Christ’s Entry into Jerusalem was underwhelming, I thought that it helped emphasized Christ’s profile as the center of the piece.

We then moved from Florence to Siena by covering Duccio di Buoninsegna’s Maesta altarpiece. I found it particularly fascinating that there was a procession to deliver the altarpiece to the cathedral upon its completion, further highlighting the importance of the relationship between church and state in the 1300’s.

We then covered Ambroggio Lorenzetti’s frescoes for the Sala della Pace, particularly The Good Government fresco which depicted economic exchange, harmonious societal activities (dancing, music), contemporary architecture, and leisurely activities (hunting). I found the inclusion of Securitas (holding a gallows!) to be quite menacing.

We then moved to 15th century art in Northern Europe with the Limbourg brothers’ Tres Riches Heures du Duc de Berry. I found it interesting that the January page was in a way a showcase of the Duke of Berry’s immense collection of wealth. Although there was a diversity of social status amongst the subjects of the scenes depicted in the book, they are all represented as content, pushing a positive image of the Duke’s government.

We concluded class with Charles Sluter’s Well of Moses. I found it quite comical that Moses had horns due to what was basically a biblical typo.

We opened today’s class by looking at some Michelangelo works, specifically Awakening Prisoner and Pieta. I found particularly interesting the Awakening Prisoner, and how it (although unfinished) was a fantastic example of neoplatonism and how Michelangelo was upheld as the ideal artist. Creating an ideal out of an earthly material such as marble is an inherently neoplactonistic ideal.

We compared Michelangelo’s Pieta to the Rottgien Pieta shown in the textbook. Compared to this other pieta, Michelango’s Virgin is depicted as youthful and serene. He utilized immense amounts of fabric to cover the complex anatomy of Mary cradling Jesus. I particularly loved his usage of pyramidal composition and harmonic forms.

I found very interesting Prof. Plesch’s comment about Pietas, and how they depic Mary cradling Jesus as if he is a child, echoing Nativity.

Next, we began studying Late Michelangelo and Mannerism. We started with the Sistine Chapel ceiling. I found it particularly interesting that the works of art in the Sistine Chapel are arranged in a somewhat chronological order (Ante Legum, Sub Lege, and Sub Gratia). I particularly liked Michelangelo’s usage of illusionism through his depiction of architecture in grisaille. The ceiling contains various artistic elements, such as the lunettes which contain depictions of Christ’s ancestors, prophets and sybils sitting in front of columns, and the mysterious ignudi.

We continued to compare Michelangelo’s Lybian Sibil with Raphael’s Madonna of the Meadow, particularly through their usage of colors, depictions of fabric, and posing, which altogether showcase Michelangelo’s depart from the simplicities of the High Renaissance.

We began to study Mannerism with Jacopo da Pontormo’s Pieta, and discussed the unsettling times that may have incited the artistic movement.

We covered two works by Parmigianino: his self portrait, and the Madonna of the Long Neck. Although the Madonna of the Long Neck was unfinished, I found several parts fascinating, such as the strange anatomical proportions of the Virgin, and her complex, adorned hairstyle that seemed to directly copy the Apollo Belvedere.